Notes

Introduction 1 . See also Damon’s interest in “poetry deemed aesthetically lacking or poetry that embraces a messy or unfinished aesthetic” (Postliterary 4–5). 2 . Alan Read’s edited collection Architecturally Speaking: Practices of Art, Architecture and the Everyday provide a useful overview of current debates: “For some time, the publishing of late modernism has been underpinned by geographical inquiry, while history has been superseded. Space, not time, has become the privileged domain. This volume recognizes this shift towards the spatial yet is critical of the valorization of space at the expense of the critical relations between temporality, built form and the performative dynamics of architecture within everyday life” (1). 3 . Lefebvre illustrates his point with reference to the so-called Kitchen Debates of 1959 wherein Nixon and Khruschchev famously debated the pros and cons of the American versus Soviet way of life (Lefebvre 8–9, 45). He commends the work of American writers who have “been able to open their eyes to what is nearest to them—everyday life—and to find themes in it which amaze us by their violence and originality” (235).

1 Constructing the Suburbs 1 . See Hayden, Building ; Kelly; Gowans; Martinson; and Stilgoe for comprehen- sive accounts of suburban growth across the nineteenth century. 2 . In place of heavy oak frames with complex carpentered joints, the “Balloon Frame,” first used in Chicago in the early 1830s, needed only a framework of two-by-four posts joined by platform board floors, which helped to spread the structural stresses and thus ensure the integrity of the whole. See K. Jackson 125–7. 3 . The increasing use of horse-drawn carts and streetcars from the mid-nineteenth century resulted in the daily depositing onto the streets of tons of manure. Jackson cites Joel Tarr’s calculation that in 1907, Milwaukee’s 12,500 horses might deposit up to 130 tons of manure per day (Jackson, Crabgrass 107). 184 ● Notes

4 . For a critique of the rhetoric of separate spheres, see C. Davidson; Kerber; McHugh, and G. Matthews. 5 . Automobile ownership also engendered novel forms of suburban development such as the “garage suburbs” that were prevalent around Detroit and Los Angeles in the 1920s. Settlers purchased land and then, when money allowed, erected a garage in which the family would reside while they took piecemeal paid work and began constructing their own more substantial homes. See Gowans 20; Nicolaides 12, 32. 6 . Russell Lynes of Harper’s wrote to McGinley in Feb. 1950 pitching an idea for an article: “There is good fun to be had in a piece on the servant problem these days, with special reference to the many families who are employing displaced persons (DPs) as a means of giving them a foothold in this country, at the same time that they cope with their domestic problems. This seems to be more of a suburban problem than an urban one. One of our editors tells us that the cor- respondence on this subject in the Scarsdale Inquirer is very good fun.” 7 . On de-centering as a consequence of the lessons learned during the war in Europe, see Stilgoe 301. For more on nuclear preparedness and civil defense see D. Nelson; Paul Williams; and Allan M. Winkler. 8. See K. Jackson 164ff for a history of road-construction materials. 9 . Others included the Long Island Motor Parkway (1906–11); the Bronx River Parkway (1906–1923) and, in California, the “Arroyo Seco Parkway” (later the Passadena Parkway; conceived in 1911 but not completed until 1940) (K. Jackson 166–7). 10 . The Merritt Parkway is only so named as it nears the Connecticut boundary; the section that goes through Scarsdale is the Hutchinson River Parkway. 1 1 . I n The Rise and Fall of the Great Powers, Paul Kennedy observes that “‘Rome fell; Babylon fell Scarsdale’s turn will come’” (qtd. in Lawson-Peebles 33). 12 . The lessons of wartime manufacturing processes, such as the use of economies of scale and mass-production techniques, were also instrumental to the emer- gence of the postwar suburbs (Miller and Nowak 44ff; Brennan; Phillips). It was in this context that Bill Levitt learned his trade; his company had held wartime contracts to supply the US military with semi-prefabricated housing for workers and had seen the commercial sense of dividing construction into multiple uniform and replicable stages, assembled by crews of noncraft, non- union laborers (“Up from the Potato Fields”). 1 3 . S e e P a c k a r d , The Waste Makers for an account of some of the potential costs of such acquisitiveness. A. R. Ammons’ Garbage (1993) explores similar ter- ritory. Costello reads Garbage as a “response to the awesome landscape of our discarded forms, and nature’s own expenditure and waste” (17). 14 . In fact, many women confounded the stereotype of suburban femininity by resuming paid employment outside the home, albeit usually at an inferior level. See Hayden, Building 147; Coontz 16; Miller and Nowak 162; Faludi 74. 1 5 . S e e J u r c a , White Diaspora for an extended reading of male self-pity in the fic- tion of the period. Notes ● 185

16 . Levitt installed Bendix washing machines, GE stoves and refrigerators, and Admiral Televisions as standard (Baxandall and Ewen 136). Levittown’s ordi- nances prohibited hanging washing out to dry during the evenings or at week- ends, that is, when men would be in residence. 1 7 . S e e a l s o U p d i k e ’ s p o e m “ W a s h ” (Telephone Poles 44) and Wilbur’s “Love Calls Us to the Things of This World” (New and Collected 233). The “Mixmaster” also appears in a number of poems including ’s “Things” (Selected 135) and Josephine Miles’s “Ride” (Collected 92). 18 . See Dines for a reading of discourses of heteronormativity in contemporary suburban fiction. 19 . Class was another important variable. Black periodicals such as Ebony deployed the same rhetoric and marketing strategies as did white periodicals in their attempt to sell to their readers the suburban dream (Wiese 99–119). See also Pattillo-McCoy. 20 . As Wini Breines notes, black workers were present in the postwar suburbs as servants, nursemaids, gardeners, chauffeurs, and in other service jobs (49ff). See also Jurca, White 178 n. 21 and Gans, Levittowners 374. 21 . Baldassare reiterates the point: “Suburban growth was driven by an ‘invasion and succession’ process in older, inner city neighborhoods. City areas became the destination points for recent, poor, immigrant workers . . . As a result of the ‘invasion,’ many of the long-term residents of these inner city areas moved to suburban areas further away from the central business district” (479–80, 482). 22 . See O’Donnell for a useful reading of the “Suburban Eden” of Los Angeles. 23 . The threat of violence met the first black residents of Levittown, Pennsylvania in 1958. For a first-person account of this incident, see Daisy D. Myers, “Reflections on Levittown.”

2 Suburban Tastes 1 . Harry Henderson notes of his Levittown and Park Forest interviewees: “Within the group, pressure to ‘keep up with the Joneses’ is felt most strongly . . . Many told me that they didn’t want to ‘get ahead, but we want to keep up with the others; we are all young and starting together and we don’t want to fall behind’” (“Rugged” 80). Coontz suggests that because white-collar wages at this time were accelerating more slowly than those of blue-collar workers, some middle- class housewives entered paid employment “not so much to ‘keep up with the Joneses’ as to stay ahead of the O’Malleys” (162). 2 . Denney has a poem “Since the Donkey-Tail Barometer: An Essay on American Weather-or-Noes” in the Chicago Review (Fall 1955). It draws on conventional images of suburbia (picture windows, parkways, elm trees, televisions) to sug- gest a distinction between authentic and synthetic experience of weather. 3 . For James Gilbert, “the dispute over mass culture in the 1950s . . . was a struggle in which the participants were arguing over power—over who had the right and 186 ● Notes

responsibility to shape American culture” (7). See John Carey, The Intellectuals and the Masses for a sustained account of the relationship between the two, albeit primarily in an English context. 4 . See Lazere for an overview of the original Partisan Review debates and a fiftieth anniversary symposium on the same theme. For a useful summary of the con- text, see also Halliwell. 5 . The decision to select two editors with such divergent views was an intentional one and reflects the disparity of contemporary opinions on these issues. 6 . Abbott notes a similar schism in modernist poetry publishing between, for example, Transition ’s motto “The plain reader be damned” and Poetry ’s “To have great poets there must be great audiences too” (218–9). 7 . From its inception in the late nineteenth century, the Saturday Evening Post aimed to be “the medium of an American consciousness . . . it was designed to reach audiences ignored by ‘highbrow’ magazines like Harper’s and the Atlantic ” (Cohn 9). With its sister periodical, the Ladies’ Home Journal (founded in 1883), it “exemplified and conveyed to [its] readers a powerful and mutually reinforc- ing mix of gender and commerce that had come to characterize a significant segment of American popular culture by the turn of the century” (Damon- Moore 2). See Harrington, Poetry 31–49; Newcomb, “Out” 248ff; and Nye 119–22 for an account of poetry’s circulation in magazines and newspapers in the late nineteenth-century and interwar years. See Scanlon and McCracken for an account of the declines of these periodicals later in the century. 8 . Tebbel and Zuckerman report a fall in newsstand sales from 47 percent to 38 percent between 1947 and 1954 (245ff). The Saturday Evening Post folded in 1969. During the 1960s, television-advertising revenue rose more than two-fold, from $1.5 billion to $3.5 billion (Yagoda 364). In a 1954 profile of McGinley, Gerard Meyer notes the steadily declining market among these media: “Today the [newspaper] columns are gone, and of magazines hospitable to ‘the worldly muse’ only The New Yorker appears to make a point of it” (12). 9 . Golding mentions an 1875 anthology that presented short poetry for the “‘snatched leisure’ of busy Americans” (From Outlaw 27). See also Rubin, Making on the Book of the Month Club and similar initiatives. 10 . Hayden Carruth and are just two of the poets studied later who were educated under the GI Bill. See Wai n. page; Grimes n. page. 11 . The role of Cleanth Brooks and ’s 1938 study Understanding Poetry has widely been noted; guided by this manual to the New Critical prac- tice, “great numbers of people could gain access to otherwise difficult works of literature” (Abbott 219). See also Allen and Tallman (x). 12 . Ehrenreich and English; Grant; McHugh; and Leavitt have shown that moth- erhood was a particular object of scrutiny in this period with successive waves of childcare “experts” (sociologists, psychologists, doctors, educators) offering forceful and often contradictory advice. 13 . In an April 1949 letter to , asking him for a contribution to the book, Ciardi explains that “the anthology is a highly selective one designed to represent the best poems of the better poets whose major work falls into the Notes ● 187

forties, and to present, insofar as possible, the working principles of versifica- tion that hold sway” (Selected Letters 54). Sales of the book, unfortunately, did not live up to Ciardi’s expectations. In a subsequent (January 1953) letter to Roethke he notes “Mid-Century Poets has more or less petered-out” (84). 1 4 . S e e M c G o w a n , and Middle Generation Poetry for a more recent deployment of this label. 15 . Updike dissents from Auden’s definition in a 1982 review of Donald Davie’s The New Oxford Book of Christian Verse (Hugging 647). ’s poem “Poetry and Games” finds fault with both “lightweight” and “heavy- weight” poets, but reserves its strongest contempt for “middleweight poets” who, it alleges, lack “gall” (Collected 387–8). 16 . Packard cites as the epigraph to chapter 10 of The Status Seekers the observation that: “The upper classes LIVE in a HOUSE . . . use the TOILET, THE PORCH, LIBRARY, or PLAYROOM. The middle classes RESIDE in a HOME . . . use the LAVATORY, the VERANDA, DEN, or RUMPUS ROOM” ([Packard’s emphasis] 126). For evidence of the use and popularity of these spaces, see Katz 79 and Leavitt 181.

3 The “Poet Laureate” of Suburbia 1 . With the exception of Linda Wagner’s early (1971) study of McGinley in the Twayne United States Authors series, her work has appeared only as an aside, for example, in Beuka’s SuburbiaNation , in Stephen Burt’s Forms of Youth: Twentieth-Century Poetry and Adolescence , and in Nancy Walker’s work on wom- en’s humour in American culture. There is insufficient space here to explore in full the reasons for McGinley’s decline in reputation; in brief, though, factors include: her choice of genre (light verse); economic factors; her relationship as proud defender of the suburbs with a metropolitan literary elite; and her gender or, more accurately, her marginalization by male coteries and by a nascent femi- nist movement. 2 . Unpublished material from the McGinley archive held in the Special Collections Research Center, Syracuse University Library, is referenced parenthetically by brief description; further details are given in the Works Cited. 3 . The title is ironic given the lyrics of Malvina Reynold’s well-known song “Little Boxes” (1963). “Little Boxes” gave rise to the term “ticky tacky,” thereafter widely used as a dismissal of the design and culture of the suburbs. See Hine 44; Rubey xii. 4 . M c G i n l e y ’ s f i r s t The New Yorker poem was “To A Reckless Lady’s Ghost” (23 January 1932: 32) and her last was “A Dream of Gifties” (9 July 1960: 30). 5 . J o e l l e B i e l l e ’ s r e c e n t e d i t i o n , and The New Yorker: The Complete Correspondence, offers a wonderful insight into the magazine’s edito- rial practices and relationship with its poets during this time. 6 . Dorothy Parker claims to have made a similar decision: “my verse is terribly dated—as anything once fashionable is dreadful now. I gave it up, knowing it 188 ● Notes

wasn’t getting any better, but nobody seemed to notice my magnificent gesture” ( Paris Review 108). 7 . McGinley was pragmatic about this motive. Parker claimed a similar defense. Asked in an interview about the “source of most of her work” she replied: “Need of money, dear” (Paris Review 109). 8 . There are various ways of computing the current value of historic income. I have used the conservative “Consumer Bundle” tariff; an alternative method would be to calculate the value in terms of share of GDP per capita. This would give a figure of $163 today for a $2.50 fee in 1937. See http://www.measuring worth.com/uscompare/ . Accessed 20 May 2010. 9 . See also Meyerowitz for an interesting reading of Friedan’s work in its contexts. 10 . Friedan quotes a June 1960 article in the New York Times that observes of dissat- isfied, college-educated housewives: ‘“Like a two-headed schizophrenic . . . once she wrote a paper on the Graveyard poets; now she writes notes to the milk- man”’ (Feminine 20). 11 . See also Sexton’s 1971 poem “The Taker” ( Complete 490). For a detailed read- ing of Sexton’s suburban poetics see Gill, Anne Sexton’s Confessional Poetics 56–82. 12 . In a 1955 letter to her mother, she describes advances in her own writing and vows “Some day Phyllis McGinley will hear from me. They can’t shut me up” (Letters 156–7). By late March of 1958, though, Plath is attempting to throw off the influence: “I think I have written lines which qualify me to be The Poetess of America . . . Who rivals? Well, in history, Sappho, Elizabeth Barrett Browning, Christina Rossetti, May Lowell, Emily Dickinson, Edna St. Vincent Millay—all dead. Now: Edith Sitwell & , the aging giantesses & poetic godmothers. Phyllis McGinley is out—light verse: she’s sold herself” ( Journals 360). 13 . John Coolidge was the son of President Calvin Coolidge, and, for a time, a railroad executive. See http://www.nytimes.com/2000/06/04/us/john-coolidge -guardian-of-president-s-legacy-dies-at-93.html?pagewanted=3&src=pm . Accessed 23 Dec. 2010. 14 . The Northern State Parkway, for example, was designed with underpasses delib- erately too low to permit public buses to travel under them, thereby restricting access to still-unspoilt land outside the city to the affluent few who could afford an automobile. See Berman 298–9. For a detailed account of Moses’ life and times, see Caro. 15 . In an undated [December 1963?] letter to her daughter Patsy Blake (n é e Hayden) about her unfounded worries about the sales of one of her books, McGinley writes: “I was born on Saturday and have always worked hard for a living and never expected easy money—it’s not in my stars.” 16 . See Rotskoff for a compelling reading of alcohol abuse in postwar suburban culture. 17 . Similar renderings of male acquiescence to female domination figured in con- temporary cartoon representations in The New Yorker . See Corey 155; Yagoda 276ff. Notes ● 189

18 . The title “Occupation: Housewife” is taken up by Friedan (Feminine 39, 180). McGinley’s poem was first published in The New Yorker of 13 July 1946 under this title. It was renamed “Executive’s Wife” in A Short Walk From the Station (1951) and then reverts to its original title in Times Three (1960). 1 9 . I n This Demi-Paradise: A Westchester Diary , Margaret Halsey makes comic mile- age from the visit to her suburban home of one opinion pollster and notes, in particular, the pollster’s shock that the family didn’t subscribe to any periodicals: “‘Why-I-never-heard-of-such-a-thing!’ she exclaimed, all in one breath [ . . . ] ‘In an American family’” (20). 20 . Jean Kerr was a friend and Larchmont neighbor. See Kerr, “Our Gingerbread House” for an illustrated article about her home and lifestyle. 21 . For a more detailed reading of McGinley’s complex relationship vis-à -vis con- temporary feminism and anti-feminism see Gill, “‘Quite the opposite of a feminist’”. 22 . As a Roman Catholic herself, McGinley would likely have had personal experi- ence of similar kinds of social exclusion. See Paul Giles, American Catholic Arts and Fictions for an account of the literary and cultural mediation of Roman Catholicism across the twentieth century. 23 . See McGinley’s contemporary, Robert Hillyer’s The Suburb by the Sea: New Poems for similar evocations of this idyllic scene. McConnell argues of postwar American poetry in general that “the poet in America has really never gotten closer to the center of things” than the “Suburbs of Camelot.” “If it is not an especially honorable position, at least it is not a particularly disgraceful one. It is rather, as country folk say, a middling spot” (80). 24 . A contemporary poem, “The Ballade of Lost Objects” (first published in The New Yorker on 3 October 1953) also regrets the losses that accumulate, seem- ingly inevitably, with the passing of time. The poem suggests a model for Elizabeth Bishop’s much better known “One Art” (New Yorker 26 April 1976). See Gill, “‘Phyllis McGinley Needs No Puff’” for more on both poems.

4 Suburban Landscapes 1 . For compelling first-person accounts of the growth of California see David Beers, Blue Sky Dream and Joan Didion, Where I Was From . 2 . Becky Nicolaides’ My Blue Heaven offers a detailed critique of the rise of the working-class suburbs of California. See also Sloane. 3 . For examples of these photos and a note on their origins, see Waldie, Holy Land . The children’s book Our House: The Stories of Levittown includes one child’s memories of a photographer visiting the new development, as it was being built, and climbing a water tower in order to take a night photograph of the area from above (Conrad 12–21). 4 . See also Mohr and Mossin. For an interview with Miles, see Pinsker. 5 . Zofia Burr further argues that feminist criticism baulked at Miles’s use of con- ventional poetic form which they regarded as ineffective in the struggle against 190 ● Notes

patriarchal hegemony and that Miles’s disability (she lived with arthritis from childhood) prevented able-bodied women readers from identifying with her poetics (80, 91–2). 6 . This version of “Exile” (from Old and New Poems ) is not to be confused with the six-line poem “Exile,” later collected as part of a loose sequence under the plural title “Exiles” in the 1969 book The Alligator Bride (6). 7 . According to Packard, within a decade, 805 of the 1280 families who had settled in “one Long Island development” had moved on (Status 31). Robert Putnam calculates that 20 percent of the population moved each year during the 1950s (205). See Costello on the literary legacy of this “nomadic turn” (1). 8 . On its first publication in the Kenyon Review, the poem was given the date 1955 and subtitled “to my father” (433). 9 . See Baer and Gesler for a reading of therapeutic landscapes in Catcher, and Alex Beam, “The Mad Poets’ Society” for an account of the history of Boston’s suburban asylum of choice, McLean Hospital, which was built on land chosen by Frederick Law Olmsted, who also died there. 10 . Booth was born in New Hampshire in 1925 and spent his childhood in Maine. He served in World War II in the US Air Force and, on his return, studied at Columbia. He later taught at Wellesley College and Syracuse University. His first and award-winning collection, Letters from a Distant Land , appeared in 1957. 11 . Howard Nemerov’s “Enthusiasm for Hats” and Lincoln Kirstein’s “Western” (1967 and 1966 respectively) similarly portray acute mental breakdown within the context of a suffocating domesticity.

5 The Look of the Suburbs 1 . See Archer “Colonial Suburbs in South Asia, 1700–1850” and King “Excavating the Multicultural Suburb” on the influence of South Asian architecture. 2 . Suburban consumerism was facilitated by the building of malls on the periph- eries of housing developments, a process helped by generous tax concessions (Hayden, Building 168–70). 3 . See also John Frederick Nims’ “Madrigal” in Ciardi¸ Mid-Century 128. 4 . Hayden notes that Bentham’s Panopticon was originally conceived as a solution to housing shortages (Redesigning 156). 5 . Renowned as a poet and critic, Jarrell was born in Nashville but grew up in South California; he served in World War II, studied under John Crowe Ransom and then took up a succession of teaching posts including at Kenyon College, Sarah Lawrence, and Princeton (McGowan 284, 70). “Windows” was first collected in his seventh book, The Woman at the Washington Zoo (1960). 6 . For an overview of “the suburban gothic” see Murphy. 7 . Berger speculates that: “A good part of the peculiar susceptibility of suburbia to the manufacture of myth probably lies in the fact that a large supply of visible Notes ● 191

symbols are ready at hand. Picture windows, patios and barbecues, power lawn mowers, the problems of commuting, and the armies of children manning their mechanized vehicles down the sidewalks, are not only secondarily facts; pri- marily they are symbols whose function is to evoke an image of a way of life for the nonsuburban public” (98). 8 . For a cultural history of the American lawn, see Ted Steinberg, American Green . 9 . This is not only a postwar phenomenon. Woodbury’s 1930 essay “Retreat from Suburbia” roundly excoriates her suburban neighbors for their obei- sance to the maintenance of their homes and gardens: “every man is a slave to his lawnmower and every housewife is a slave to white painted surfaces” (571). 10 . See Raymond Williams The Country and the City for an extended account of such associations. 1 1 . J o h n L e n n a r d ’ s Poetry Handbook, interestingly, defines “Urban Pastoral” in terms that invoke suburbia—although he does not pursue the point: “a loose but suggestive generic label for modern poetry of suburban domesticity and streetscapes, industrial sociology, and civil recreation” (388). 12 . See Allen, “Big Change” 26 for an account of the filmic (“Technicolor”) appeal of the Californian suburban lifestyle.

6 On the Margins 1 . A n d r e w H o b e r e k ’ s The Twilight of the Middle Class offers an interesting cul- tural history of the period albeit one that focuses exclusively on fictional accounts. 2 . Gail Cunningham regards the commute itself as a liminal space wherein the traveler is suspended in space and time (19). See Updike’s poem “Pendulum” for a striking poetic rendering of the experience ( Carpentered 79). 3 . See also ’s “Miners,” which similarly depicts death by drowning as an appropriately suburban fate (Branch 24). 4 . For Bachelard, writing in The Poetics of Space , “the lamp in the window is the house’s eye.” It keeps watch, perpetually vigilant, signifying “a house that is looking out” (3). 5 . Levine was born in Detroit, Michigan in 1928 (a city that thrived in the early years of the century, but declined with international competition in the auto- mobile industry and experienced extreme civil unrest in the 1960s at the same time as a ring, or “noose” of suburbs began to tighten) (qtd. in O’Hagan 14). He lived for much of his adult life in Fresno, California. For more on Detroit see K. Jackson 165ff and Sugrue. 6 . The point replicates Randall Jarrell’s complaint about Wilbur’s “safer, paler emulators” (qtd. in Rasula 191). See Jensen and Wilbur for a fuller overview of critical responses to Wilbur’s work. 7 . James Longenbach names the dead poet as Phelps Putnam (75). 192 ● Notes

Conclusion: The Song of the Suburbs 1 . The cardinal or Grosbeak is prolific across the Eastern Seaboard of the United States, in part because it has adapted well to new suburban environments. It is notable for its clear and fluent song, for its striking color (in the case of the male of the species), and is unique in being the native bird of seven states (Illinois, Ohio, Indiana, Kentucky, Virginia, West Virginia, and North Carolina). For more, see www.whatbird.com and www.nationalgeographic.com . Accessed 29 October 2010. 2 . Another poem from the same period, Kizer’s “Plaint of the Poet in an Ignorant Age” similarly concedes and mocks its own nostalgia. The first stanza opens “I would I had a flower-boy! / I’d sit in the mid of an untamed wood / Away from tame suburbs beyond the trees” but the poem locates its energy, ultimately, in the words of today’s “poetry-boy,” the “bottle-cap king” of pop culture, voice of the no-place suburbs who calls “Thudding from the garden, ‘What do you call / The no-bird that sings in the no-name tree?” (57–8).

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Index

academic verse, 66 architecture, 59, 68, 85, 120, 130, 147, adjustment, 51, 55, 162 190 advertising, 8–9, 38–41, 50, 56, 61–3, avant-garde, 132–3 132, 186 features of suburban, 15, 18, 25, 57–8, and poetry, 38, 59, 61, 176 69, 110–17, 128–32, 163, 181 advice manuals, 65, 186 inside/outside, 116–17, 126, 129–30, aerial photography, 189 133–6, 143–5, 178 aesthetics, 3, 5, 8, 11, 60, 183 poetry and, 68–9 affluence, 36–7, 64, 89–91, 100–102, small-town, 117, 121 113, 165 traditional, 131 see also consumerism uncanny, 119 African Americans, 8, 30–1 see also open-plans; picture windows; in the suburbs, 46, 82–4, 100–101, 185 ranch houses; rumpus rooms; see also race; segregation split-levels agriculture, 24, 25, 26, 33–4, 110 Ashbery, John, 8, 108, 115–17, 178 farmhouses, 33–4, 174 “The Bungalows,” 115–17, 129 Albaugh, Dorothy P., 131 “Sunrise in Suburbia,” 116 “Lines to an Architect,” 131–2 asylums, 123, 190 alcohol, 92, 100, 158, 169, 188 asylum poetry, 18, 107, 123–8 Allen, Donald M., 60 atomic weapons, 31, 100, 110, 184 The New American Poetry, 35–6, Auden, W. H., 58, 79, 108 44–5, 60–1, 66–7 and light verse, 68, 187 Allen, Frederick Lewis, 55, 98 “Twelve Songs, II,” 134 Ammons, A. R., 184 authenticity, 13, 34, 144, 179, 185 animals, 32, 33, 83, 124, 178 authority, 10, 88, 163 dogs, 45, 113, 137 authority figures, 65 anthologies, 9–10, 26, 44, 121, 178, 186 and gender, 95, 140, 144 influence of, 35–6, 60–1, 117 of lyric poetry, 14, 55, 86 proliferation of, 64–7 and race, 49 antiques, 93–4 see also voice Archer, John, 21, 23, 25, 34–5, 190 avant garde, 7, 13, 35 214 ● Index

Babbitt, see Lewis, Sinclair Bressler, Marvin, 53 Bachelard, Gaston, 15, 140, 191 Brinnin, John Malcolm, 119 Balakian, Peter, 6 “Dachau,” 119 ballads, 30, 95, 122–3, 189 Brooks, Gwendolyn, 99–102 Baltimore (Maryland), 27 “Beverley Hills, Chicago,” 100–101 Baraka, Amiri, 44–5 Brunner, Edward, 4, 7, 93, 121, 168 barbecues, 151, 191 Bryant, Marsha, 83, 146 Baxandall, Rosalyn, 11, 27, 29, 43, 54 building Bean, Heidi, 2, 3, 28, 59 lobby, 29–31 Beat Movement, 4, 7 supplies, 29 Beecher, Catharine, 23–4 techniques, 22–3 Beecher Stowe, Harriet, 23–4 see also houses; road building Bellafante, Ginia, 62 Burt, Stephen, 122, 187 Bendix, 7, 42–3, 185 Buzzelle, Burge see also domestic appliances; “Heat ‘N’ Eat,” 151 washing machines Benjamin, Walter, 140 California, 58 Bentham, Jeremy, 132–3, 136 history of, 26 see also panopticon landscape of, 18, 133 Berger, Bennett, 178 parkways, 184 Berkeley Renaissance, 8, 111 poets of, 8, 45, 48, 63, 108–15 Berman, Marshall, 12, 85 suburbs of, 8, 25, 58, 98, 107–15, Beuka, Robert, 1, 11, 181, 187 128, 189, 191 birds, 89–91, 174–6, 179, 192 Campbell, Neil, 109 Bishop, Elizabeth, 67, 74, 187 Carey, John, 186 “One Art,” 189 Carruth, Hayden, 127–8, 186 Bishop, Morris, 68 “The Asylum,” 127–8 Black Mountain poets, 7 Carson, Rachel, 110 Blackmur, R. P., 67 cartoons, 9, 50, 124, 132, 188 Blair, Sara, 14 Chareau, Pierre, 133 Blake, William, 178 Chasar, Mike, 2, 3, 9, 38, 51, 58–9, 61–2 Bliven, Bruce, 63, 108 Cheever, John, 53, 78, 158 Bly, Robert, 15, 37, 66 “The Cure,” 132 “Sleet Storm on the Merritt “The Five-Forty-Eight,” 85 Parkway,” 35–7 Chicago (Illinois), 45, 55, 56 Bogan, Louise, 8, 63 children, 124 “Evening in the Sanitarium,” 125–7, better-for-children rationale, 38, 50, 158 98–9 Booth, Philip, 124–5, 190 children’s books, 33, 75, 189 “Red Brick,” 124–5 education of, 65, 74, 93, 131 Boston (Massachusetts), 22, 168–9 in the city, 23 suburbs of, 40, 145, 169 in small towns, 123 Bowden, James in the suburbs, 41, 42, 58, 103–4, “Summer in the Suburbs,” 156 113–15, 159–60, 176, 178, 191 Bracken, Peg, 81 Chin, Marilyn, 4 Index ● 215

Ciardi, John, 12, 77, 186 Conrad, Pam, 33, 189 Mid-Century American Poets, 10, conspicuous consumption, 7, 25, 28, 60, 63, 66, 68, 187 52, 64 “Suburban,” 136–7 consumerism, 35, 38–41, 50, 52, cities, 2, 15, 140, 143 54–6, 185 civilization of, 53, 62, 84–5 gender and, 86–7, 112–13 hostility towards, 23–5, 31–2, 38, post-war, 147, 170, 176 47–8, 123, 149 see also shopping malls overcrowding in, 27, 32 Coolidge, Calvin, 188 in poetry, 11, 60, 115 Coolidge, John, 188 in relation to suburbs, 8, 22, 35, 40, Coontz, Stephanie, 24, 30 47–9, 86, 91, 138 Corey, Mary, 62, 152 see also individual cities; urbanization Costello, Bonnie, 17, 115, 164 civil rights, 6, 99, 101 countryside, 2, 11, 123, 127–8, 138, see also ethnicity; migration; race 141, 143, 175, 180 Clampitt, Amy development of, 35–6 Archaic Figure, 164 idealization of, 22, 31–2, 47, 87, What the Light Was Like, 164 117–18, 149 Clark, Suzanne, 63, 79 The Crisis, 9, 45 class, 9, 185 Cross, Gary, 150–1 and conformity, 54–6, 89 cultural geography, 4, 5, 14–16, 183 middle classes, 23–5, 43–4, 77, 92, culture, 2, 9, 45, 61–4, 79, 180 95, 99–100, 147, 179 and the city, 50, 52, 57, 62, 79, 85–7 and taste, 2, 57–58, 132, 187 mass culture, 57, 63, 185 working classes, 24–5, 54, 189 and the suburbs, 2, 51–69, 173 Cold War, 46, 99, 119–20, 128, 134 see also taste Cold War poetry, 4, 7, 93, 168 College English, 9, 156, 161 Damon, Maria, 2, 3, 50, 183 Colomina, Beatriz, 133–4 Davidson, Ian, 12 commemorative verse, 122–3 Davidson, Michael, 9, 12, 83, 111 community, 17, 115, 167, 178–9 Davis, Alexander Jackson, 21 commuting, 35–8, 125–6, 158, 178, 191 De Certeau, Michel, 5, 15–16, 140–1 inconvenience of, 23, 84, 85–7, 148 decentralization, 31, 46, 184, 185 by men, 96–9, 142, 153, 162 Deedy, John, 73, 78 and suburban growth, 26, 98 democracy, 65, 130, 133 see also parkways; road building; Denney, Reuel, 185 transport Detroit, Michigan, 184, 191 concrete form, 111, 113 Dickstein, Morris, 12, 58 confessionalism, 4, 7 Dines, Martin, 185 conformity, 7, 12, 14, 17, 59, 78, 153, 164 disappointment, 6, 51, 162, 167 and class, 53–6 displaced persons (DPs), 27, 184 enforcement of, 66–7, 90–1, 119–21 domestic appliances, 29, 38, 42–3, resistance to, 98, 114, 136–8, 163 159–60, 185 and taste, 66–7 see also Bendix; refrigerators; non-conformity, 114 televisions; washing machines 216 ● Index domestic servants, 23–4, 82–4 Fiedler, Leslie, 42 domesticity, 8, 39, 87 film, 11, 44 and mechanization, 42–3, 159 Filreis, Alan, 2, 13, 173 middle-class, 76–7 Fishman, Robert, 11 suburban, 76–7, 81–4, 90–106, flânerie, 129, 136–7, 140–5, 161 124–7, 138, 140, 153, 158 see also surveillance Donaldson, Scott, 52 Forbes, Deborah, 13 Doty, Mark, 7, 10, 12, 59–60, 139, 168 Ford, Edsel, 116 Douglas, Kirk, 75 Ford, Mark, 115 Downing, Andrew Jackson, 21–3 Ford Motor Company, 26, 38, 135–6 Duncan, Robert, 111 see also commuting; transport DuPlessis, Rachel Blau, 3, 5 Ford, Richard, 145 form, 5, 9, 36, 84–6 Eberhart, Richard, 187 revision of, 17–18, 93, 105, 125 Eisenhower, Dwight D., 52 traditional, 8, 12, 76, 80, 107, 131 elegy, 138 see also ballads; concrete form; conventions of, 33, 164, 168–71 elegy; epic; free verse; georgic modern, 121, 163, 171 tradition; love poetry; lyric; suburban, 17, 18, 80, 82, 103–5, odes; open form; pastorals; 120–3, 155, 158, 163–71, 173 sestinas; sonnets Eliot, T. S., 180 formalism, 4, 7, 168 Elliott, George P., 66 Fortune magazine, 108 environmental concerns, 6, 17, 26, Foucault, Michel, 136 109–10, 128, 178 free verse, 13, 138, 158 epic, 86, 162 Freud, Sigmund, 81, 97, 138 ethnicity, 8, 9, 27, 43, 89 Friedberg, Anne, 132, 136, 162 Evans, Bertrand, 65 Friedan, Betty, 77, 82, 104, 188 the everyday, 14–17, 42, 62, 68, 77, 83, The Feminine Mystique, 52, 73, 75, 98–9, 128, 159, 179, 181 77, 80, 123, 144 gender and, 18, 97, 105, 162–3 Fromm, Erich, 42, 56 poetry and, 7, 111, 138 The Sane Society, 52, 123 Ewen, Elizabeth, 11, 29, 54 Frost, Robert, 66 expressways, see parkways Fussell, Paul, 158 family, 25, 26, 42–3, 50, 103–4, 131–2 Galbraith, John Kenneth, 89 Farnham, Marynia F., 77, 96 Gallagher, James, 52, 114 Federal Housing Administration Gallup, see market research (FHA), 26–7, 29–31, 43 Gans, Herbert, 54 femininity, 17, 23, 63, 81, 94, 103–5, The Levittowners, 49, 58 112–13, 141–5 Popular Culture and High see also gender; masculinity Culture, 58 feminism, 6, 101, 187, 189 gardens, 21 fences, 148 see also lawns fiction, 8, 11, 16, 44, 50, 53, 84, 184, 185 Garnett, William, 108 see also individual novelists the gaze, 136–7, 139, 142, 178 Index ● 217 gender, 39–43, 63, 90–106, 126–7, Halsey, Margaret, 138 136, 140–1, 143 Hammer, Philene and poetry, 8–9, 63, 74–75, 79–81, “The Lady’s Not for Broiling,” 151 187 Hansberry, Lorraine, 27 roles and relationships, 21, 42, 50, Raisin in the Sun, 43 153 – 4 Harmon, William, 68 and space, 22, 24–5, 131–2 Harper’s Magazine, 68, 184, 186 and work, 25, 41–3, 184 criticism of the suburbs, 55, 63–5, see also femininity; masculinity; 108, 149, 156 separate spheres defense of the suburbs, 53, 76, 98 georgic tradition, 149–50, 153 Harrington, Joseph, 1, 2, 3, 5, 11, Gersten, Irving, 65 33, 57 Gesell, Arnold, 65 Hartley, John, 53 GI Bill, 27, 29–31, 38–41, 43, 56, 64, Hayden, Dolores, 11 141, 186 health, 23, 127 Gibbs, Barbara, 108–10, 116 hygiene, 23 “California, An Ode,” 108–10 mental health, 23, 38, 123–8, 190 Giedion, Sigfried, 46 stress, 52 Gilbert, James, 185–6 Henderson, Harry, 65, 127, 149, 185 Gilbert, Joseph, 141 Herd, David, 116 Gill, Jo, 188, 189 H. G. F., 26 glass walls, see picture windows Hillyer, Robert, 189 Golding, Alan, 66, 108 Hine, Thomas, 131, 148 Gordon, Richard E. et al Hofstadter, Richard, 52 The Split-Level Trap, 52, 123 Hollander, John, 6 the gothic, 138, 190 home ownership, 25, 30, 32, 111–12, Great Depression, 26, 27, 38, 74, 99 114 see also houses; real estate Hall, Donald, 8, 12, 67, 117–22, 168, Home Owners’ Loan Corporation 190 (HOLC), 26–7 The Alligator Bride, 117, 189 Homer Blue Wing, 40 The Odyssey, 162–3 “Christmas Eve in Whitneyville,” “Homes for Modern Living,” 130 117–18, 120–22, 141 houses Contemporary American Poetry, 36, house building, 22, 25, 29–34, 67, 117 130–32, 183, 184 The Dark Houses, 117 housing shortages, 21, 27–34, 43, “Exile,” 117–19, 121–2 116 “Exiles,” 190 war-time housing, 175 Exiles and Marriages, 117 see also home ownership; real estate New Poets of England and America, Howells, William Dean, 22–3 66, 117, 121 Hudson, NY, 115 “Tomorrow,” 36 Hudson Review, 9 “Woolworths,” 40 Hughes, Langston, 8, 74 “The Wreckage,” 117 “Suburban Evening,” 45, 49 218 ● Index

Igo, Sarah, 94–5 Kruse, Kevin M., 11, 43, 102 Ilg, Frances, 65 Kunstler, James Howard, 34, 54, 59 industrialization, 24, 123, 174–5 intellectuals, 52, 131–2, 186 Ladies’ Home Journal Isenstadt, Sandy, 133 advertising, 38–41 architecture features, 130–1, 147 Jackson, Kenneth T., 11, 21–22, 53 as poetry publisher, 28–9, 31–3, 63, Jackson, Shirley, 64 74, 76–7, 80–1, 96 Jacobs, Jane, 16 readership, 29, 62–3, 186 Jacobson, Joanne, 45 Lakewood (California), 108 Jarrell, Randall, 8, 61, 64, 66–7, 190, Lamb, Charles M., 30, 43 191 lamplight, 110, 114–15, 126, 143–4, “Windows,” 132, 138–41, 143–4, 156–8, 160, 178, 191 147, 190 landscape, 16–18, 33, 35, 107–27, 142, Johnson, Philip, 133 168, 174–6, 181 Jurca, Catherine, 1, 11, 44, 84, 94, see also topography 145 Larchmont (New York), 75–6, 86, 98, Justice, Donald 103, 189 “Men at Forty,” 7, 158–9, 161 Larrabee, Eric, 98 Night Light, 124 lawns, 127–8, 135, 156, 174, 178, 191 “On a Painting by Patient B of the lawn care, 18, 89, 91, 129, 147–55 Independence State Hospital for lawnmowers, 41, 150–2, 164–6, 191 the Insane,” 123–4 lawn sprinklers, 7, 152–4, 150, 156, Summer Anniversaries, 124 169–71, 176 juvenile delinquency, 91 see also gardens Le Corbusier, 133–4 Katz, Donald, 52 Lefebvre, Henri, 15, 77, 140 Keats, John (poet), 33, 97, 104–5, Levertov, Denise, 8, 36, 67 150, 176 “Merritt Parkway,” 35–7, 141 Keats, John (suburban commentator) Levine, Philip, 8, 191 The Crack in the Picture Window, “Lights I Have Seen Before,” 159–61, 52, 123, 132, 134–5, 144 162 Kenyon Review, 120 On the Edge, 10, 159 Kerr, Jean, 81, 96 “Silent in America,” 176 Kilmer, Joyce, 32 Levitt, Bill, 29, 184, 185 Kimmell, Michael, 159 Levittowns, 33, 50, 58, 149, 185, 186 Kirstein, Lincoln, 190 Lewis, James, 14 kitchens, 15, 22, 81–4, 100, 109, 127 “A Poet of the Suburbs,” 161–3 Kitchen Debates, 183 Lewis, Sinclair, 10, 52, 61, 90 kitchen windows, 145–7 Life magazine, 78 see also domesticity light verse, 3, 7, 26, 59, 62, 65, 68–9, Kizer, Carolyn, 77, 168 75–81, 105, 187 “Plaint of the Poet in an Ignorant liminality, 155–63, 167 Age,” 192 see also margins “The Suburbans,” 177–80 literary history, 2, 7, 10–14, 16, 60, 79 Index ● 219

Long, Elizabeth-Ellen, 31–2, 87 Woman,” 95; “Hostess,” 90; “I Long Island (New York), 34, 123 Know a Village,” 101–2; The Love Los Angeles (California), 47–8, 107, Letters of Phyllis McGinley, 62, 110, 184, 185 74, 75, 81, 91, 95, 102; “Marginal love poetry, 83 Note,” 88; “Musings Aboard the Livingston, Ira, 2, 3 Stamford Local,” 87–8; “The Lowell, Robert, 10, 66, 67, 146, 168 New American Family,” 101; Lundberg, Ferdinand, 77, 96 “Occupation: Housewife,” 93–4, Lynch, James J., 65 98, 100, 102, 104, 176, 188; On lyric, 13–14, 93, 115, 174–6 the Contrary, 75, 84–6, 88–91; One More Manhattan, 86; “A McCall’s, 32–3 Place in the Country,” 87; A McCarthyism, 100, 134, 137 Pocketful of Wry, 30, 87–8, 95; MacDonald, Betty, 96 “The P. T. A. Tea Party,” 95–6, Macdonald, Dwight, 143 102; The Province of the Heart, Mack, Rachel, 96 99–101; A Short Walk From the McGann, Jerome, 59 Station, 10, 65, 76, 79, 91–102, McGinley, Phyllis, 3, 9, 10, 12, 18, 148; Sixpence in her Shoe, 73; 73–106, 113, 173, 178 “Song for a Brand-New House,” ambivalence of, 13, 84–92, 94, 30; “Song from New Rochelle,” 99–102, 105, 173 84–5, 86, 88; “Sonnets from biography of, 73–76 Westchester,” 102; Stones from a housewife poet, 8 Glass House, 10, 85, 88, 91–102; income of, 76–7, 99, 188 “The Street of Little Houses,” influence of, 77, 80–4, 145, 188 74; “Suburban Newspaper,” 88; and light verse, 59, 69 “Suburban Portraits,” 89–91; readership of, 74–6, 79–81, 102 “Suburbia, Of Thee I Sing,” 76, sales figures of, 62 98–101, 103; “Sunday Psalm,” satirical voice of, 84, 86–91, 105 102–3; Times Three: Selected and social commentary, 79–80, Verse from Three Decades, 73, 79, 84–106 81, 91, 102, 104–5; “To a Reckless works: “About Children,” 65; “Ballad Lady’s Ghost,” 187; “Valentine of the Preëlection Vote,” 95; “The for New York,” 85–6, 91, 93–4; Ballade of Lost Objects,” 189; “View from a Suburban Window,” “Country Club Sunday,” 80–1, 104–5, 136 90, 91–4, 100, 102; “A Day in McWilliams, Carey, 98 the City,” 86, 93–4, 103; “The Manhattan (New York), 41, 75–6 Doll House,” 80–1, 103–5; “A Manning White, David, 57 Dream of Gifties,” 187; “Eros margins, 7, 8, 17, 18, 49–50, 145, in the Kitchen,” 81–4, 100, 155–63, 168, 175–6, 180 151, 160; “Executive’s Wife,” see also liminality see “Occupation: Housewife”; market research, 94–5, 189 “Fifteenth Anniversary,” 148–9; Marling, Karal Ann, 52 “The 5:32,” 80, 85, 96–9, 102, marriage, 92 103–4, 126, 158; “The Forgotten Martinson, Tom, 10–11 220 ● Index

Marvell, Andrew, 150–3 Miller, Douglas T., 52, 64, 137 Marx, Groucho, 75 Miller, Nancy A., 52 Marx, Leo, 31, 47 Milton, John, 104–5 masculinity, 17, 39–41, 55, 120, 129, Mitchell, Julian 144, 158–63, 184 “Sprinkler in the Suburbs,” 152–4 emasculation, 42–3, 44, 144–5, modernism, 4, 7, 13, 58, 61, 63, 67 149–54, 158–63, 176 modernity, 36, 59, 87, 118, 133–4, 140, and family responsibility, 147–8 151, 167, 174, 179–80 and self-pity, 153 moms, 39, 96, 148, 153 and viewing position, 141–2 Moore, Marianne, 63, 67 see also femininity; gender Moses, Robert, 34, 85, 188 mass media, 9, 33, 34, 38–41, 61–3, Moss, Howard, 8, 66, 128 186 “Finding Them Lost,” 128 masses, 29, 35, 38, 54–8, 60, 63, 66, Mumford, Lewis, 8, 21, 53, 54, 123 120, 139 Myers, John A., 169 see also culture; taste Massachusetts Review, 9 Nash, Ogden, 69 Massey, Doreen, 15, 181 National Association for the Matthews, Kristin L., 151 Advancement of Colored People Matthiessen, F. O., 64 (NAACP), 9, 43, 45 May, Elaine Tyler, 81 Nature, see countryside memory, 118–23, 165, 174 neighbors, 135–7, 149, 160 Meredith, William, 13 Nelson, Cary, 1, 2, 5, 6, 7, 32 “Trees in a Grove,” 13 Nelson, Deborah, 4, 14, 81, 134 Meyer, Gerard Previn, 59 Nemerov, Howard, 8, 14, 66, 173 Michailidou, Artemis, 93 “The Beautiful Lawn Sprinkler,” Michelson, Bruce, 156 150, 152– 4 migration, 23, 45, 185 “Blue Suburban,” 7, 45, 158, 160, Mikkelsen, Ann Marie, 12 167, 170 Miles, Josephine, 8, 15, 66, 110–15, 117 “Enthusiasm for Hats,” 190 biography, 189–90 Mirrors and Windows, 10, 150 works: “Approach,” 55–6, 112–13, “Suburban Prophecy,” 150–2 140; “Cage,” 156; “A Foreign “The Town Dump,” 40–1 Country,” 119–20; “Increment,” Newcomb, John Timberman, 1, 4, 11 113, 165; Lines at Intersection, New Criticism, 12, 13, 57, 186 10, 110–11; Local Measures, New Deal, 26 110; “New Tract,” 113–14, 116; Newman, William J., 42, 132 “Now that April’s Here,” 112; New Rochelle (New York), 84, 86 “Panther,” 48; Poems on Several New York City, 8, 22, 36–7, 40, 85–6, Occasions, 112; Prefabrications, 115, 143, 167 10, 110; “Ride,” 185; “$7,500,” New York school of poetry, 7, 115 111, 113–14; To All Appearances, New Yorker, 59, 62, 74–6, 188 10, 110, 113–14 editorial staff, 41, 125, 128 military-industrial complex, 175 as publisher of poetry, 9, 42, 62, 81, Millay, Edna St. Vincent, 75, 93 84–5, 91–2, 108, 186, 187, 189 Index ● 221

readership, 62 pathetic fallacy, 164 reputation, 74–6, 137 patriotism, 25 Nicholson, Philip, 1, 173 Peach, Arthur W., 33 Nicolaides, Becky, 25, 47 performance, 94, 139, 161, 177–8 Nim, John Frederick, 190 Perloff, Marjorie, 12 nostalgia, 31, 33, 87, 118, 149, 178–9, Petry, Ann, 43 192 Philadelphia, 22 Nowak, Marion, 52, 64, 137 Phillips, Siobhan, 16, 98 Nye, Russell, 68 picture windows, 15, 18, 104–5, 115, 125–6, 157, 176, 180, 191 Oates, Joyce Carol as architectural feature, 85, 128, Expensive People, 162 130–47 odes, 35, 108–10 as metaphor, 7, 178, 185 O’Hara, Frank, 60, 67 see also architecture; surveillance Olmsted, Frederick Law, 21, 23, 190 Pinsky, Robert, 11, 173 “The One Room Apartment, 28 pioneers, 22, 41, 87–8, 109 open form, 6, 108–9 planning, 21 open-plans, 69, 129–33, 147 see also zoning see also architecture; ranch houses; Plath, Sylvia, 8, 75, 77, 81, 104, 188 split-levels “A Birthday Present,” 146 Orr, David, 180 “Lesbos,” 81, 82–4, 113, 151, 160 O’Siadhail, Michael, 117–18 Playboy, 96 Owen, Louise Goyol, 32 Poet Laureate, 8, 73–106 see also McGinley, Phyllis Pack, Robert, 66 poetry Packard, Vance, 92, 93, 119, 132, 190 amateur, 9, 63 The Status Seekers, 52, 55, 89, 187 ambiguity of, 44, 84, 155, 181 The Waste Makers, 184 and cultural studies, 1, 3, 5, 9–12, 59 Panetta, Roger, 123 definitions of, 3, 9, 29, 35 panopticon, 132–3, 135–6, 190 generations in, 7, 12, 66–7, 187 see also surveillance and history, 4, 5, 6 Paris Review, 117 popular, 2, 4, 9, 29, 93 Park Forest, 55, 56, 185 readership of, 2, 3, 6, 7, 9, 29, 51–69, see also Chicago 102, 122, 186 Parker, Dorothy, 75, 187–8 sales of, 62–3, 76–7 parkways, 35, 50, 85, 141, 162, 184, urban, 84 185, 188 Poetry magazine, 9, 108, 123, 127, 138, Merritt Parkway, 35–8 150, 167 see also road building Pollock, Griselda, 140–2 Parsons, Deborah, 140, 145 pollution, 23 Partisan Review, 57, 186 population change, 26–7, 47–8 pastorals, 12, 32–3, 87, 149–52 Pound, Ezra, 66, 67, 180 pastoral ideal, 31, 48, 148, 150, 152 Pratt, Richard, 130–1 suburban pastoral, 17, 149–52, 167 Pratt, William W., 34 urban pastoral, 191 “We Must Have Homes,” 34, 130 222 ● Index privacy, 113, 135–7, 140–1, 146 Rubin, Joan Shelley, 2, 32, 56, 59, and architecture, 46, 131–4 64–6, 93 private sphere, 2, 24, 134 rumpus rooms, 69, 131, 163, 187 prose see also architecture as social commentary, 11, 16, 29 see also fiction; individual novelists Sacks, Peter, 166, 170 Pulitzer prizes, 73, 75, 91, 104 Salinger, J. D., 123, 190 Putnam, Phelps, 191 San Francisco (California), 15, 110, 133 Quinney, Laura, 162 San Francisco Renaissance, 7 satire, 180 race, 8, 27, 30–1, 82–4, 89, 91–2, 119, see also individual poets 185 Saturday Evening Post, 9, 27, 80–1, 101 and suburbanization, 43–50, 89, circulation, 62–3, 186 99–102 as publisher of poetry, 9, 29–30, 33, see also African American; ethnicity; 62–3, 68, 131–2, 151 segregation; white flight; see also mass media whiteness Scarsdale (New York), 37–8, 184 Ramazani, Jahan, 12, 163–4, 171 Schwartz, Delmore, 66 ranch houses, 69, 120, 129–30 “I Did Not Know the Truth of see also architecture; open-plans; Growing Trees,” 143–5, 157 split-levels Seager, Ralph W., 35 Rasula, Jed, 4, 11, 12, 16, 67 seasons, 138 Read, Elizabeth K, 27 segregation, 17, 21, 27, 30–1, 43–50, Reader’s Digest, 64, 75 89, 185 real estate, 109–10, 111, 113 self-reflexivity, 110, 136, 180–1 refrigerators, 159–60, 164, 170, 185 and anxiety, 67, 116, 144–5 see also domestic appliances in poetry, 2, 8, 14, 17–18, 155, 161, religion, 189 173–5 Rexroth, Kenneth, 8, 56, 61, 67 separate spheres, 90, 97, 148, 184 “Gic to Har,” 174, 176 see also gender Reynolds, Malvina, 187 sestinas, 13, 101 Rich, Adrienne, 63 Sewanee Review, 9, 124, 152 Riesman, David, 40, 42, 148 Sexton, Anne, 8, 15, 77, 103–4, 145–7, The Lonely Crowd, 52, 55, 120 178 rituals, 98, 121, 126–7, 138, 152, 158, biography, 145, 168 180 works: “The Expatriates,” 173; road building, 21, 23, 26, 34–8, 87, “For John, Who Begs Me Not 184 to Enquire Further,” 125, 146; See also parkways; transport “Funnel,” 166–7; “Habit,” Roethke, Theodore, 63, 186 see “Lullaby” ; “Lullaby,” 127; Roosevelt, Franklin D., 27 “Noon Walk on the Asylum Rose, Tricia, 3 Lawn,” 127–8; “Ringing the Rosenberg, David, 57 Bells,” 126–7; “Self in 1958,” 81; Ross, Kristin, 12 Self-Portrait in Letters, 168; “The Index ● 223

Taker,” 188; To Bedlam and Part Stafford, William, 8, 9 Way Back, 126–7; “What’s That,” “Elegy,” 164–7 145–6 “In Media Res,” 132 sexuality, 185 “Suburban,” 32, 63 Shapiro, Laura, 81–2 Traveling Through the Dark, 10, 164 Shields, Rob, 155, 161 starlight, 110, 141, 157–8, 167 Shillington (Pennsylvania), 41, 122–3 Stevens, Wallace, 74 shopping malls, 132, 190 Stilgoe, John R., 78, 148 silence, 17, 49, 124, 138, 140, 160, 165, subjectivity, 12, 14, 16–18, 81, 116, 171, 175–81 134, 136, 161 Silverstone, Roger, 181 suburban Simpson, Louis, 8, 90, 146 alienation, 53, 55, 118, 143, 145, At the End of the Open Road, 10, 152–3, 156, 176 –80 179–80 change, 164, 174 “In the Suburbs,” 45, 179–80 displacement, 119, 127, 176 New Poets of England and America, dream, 6, 17, 30–1, 54, 90, 102–3, see Hall, Donald 148, 185 “Sacred Objects,” 180–1 housewives, 77–81, 87, 90, 93, 127, “Things,” 162–3, 185 173, 188 sitcoms, 11, 44, 139 imagination, 1, 108, 113, 115, 118–23, small towns, 18, 107, 117–23, 132 175, 177, 181 Snodgrass, W. D., 175 readers, 2, 9, 50, 51, 54, 56, 63–4, “A Cardinal,” 175–6 76, 80, 105–6, 174 Heart’s Needle, 175–6 self-consciousness, 11, 144–5, 160–1, snow, 37, 138–40, 141, 143 173–81 Snyder, Gary, 67, 109 studies, 10–11 Soja, Edward, 5, 14, 140 suburbs “Soldier and Wac They’re Wed They’re borderland, 148 Back,” 38–41 criticism of the, 1–2, 6–8, 10, 13, 17, sonnets, 12, 80, 91–3, 95–6, 102–5, 51–69, 77–9, 84–8, 96, 123, 144, 124, 150–1 173–4, 177, 180 Soviet Union, 31, 56, 119–20 culture of the, 21–52 space race, 6 death in the, 140, 153, 157, 158, 159, spatiality, 4, 5, 14–16, 78, 116, 140, 164–71, 177, 179–80, 191 167, 181 defenses of the, 8, 78–9, 96–106, see also cultural geography; poetry 114, 169–70 and space; topography development of the, 6–7, 17–18, Spectorsky, A. C., 148, 158 33, 38, 54, 89, 108–10, 114–16, Spicer, Jack, 111 117–22, 128, 147, 174–6 Spigel, Lynn, 134, 136, 139 diversity of the, 13, 78, 98–101 split-levels, 69, 129–30, 131 garage suburbs, 184 see also architecture; open-plans; history of the, 3, 21–52, 147–8 ranch houses homogeneity of the, 7, 12, 37, 54, 56, Spock, Benjamin, 65 78, 114–16, 120–1, 133, 141, 153 Sputnik, 52, 56 as inauthentic, 10, 144, 177 224 ● Index suburbs—Continued see also commuting; Ford Motor isolation in the, 159–60, 167 Company; walking as matriarchy, 42, 152 trees, 101–2, 112, 114, 118, 127–8, 141, problem of the, 6, 77, 113–14, 123 143–4, 156, 174, 185 romantic, 21 twilight, 18, 97, 150, 154, 155–63, as sanctuary, 23, 31, 101, 123–8, 167 145, 155, 160 song of the, 1, 78, 171, 173–81 the uncanny, 46, 114–15, 124–7, 146 stasis and the, 4, 78, 117, 138 Untermeyer, Louis, 64, 75 streetcar, 23 Updike, John, 8, 9, 15, 60, 62–3, 68, transience and the, 119, 122–3, 190 155, 187 as trap, 101–3, 125–8, 133, 138, biography, 41 140, 155, 159, 163, 164, 177, works: “Apologies to Harvard,” 8; 179–80 “Bendix,” 42–3; The Carpentered as wasteland, 52, 53–4, 155, 160, Hen, 65, 133; “Leningrad,” 119; 173, 177 “My Children at the Dump,” Sugrue, Thomas J., 10, 43, 102 41; “The One-Year-Old,” 65; Summers, Hollis, 8 “Pendulum,” 191; “Postcards “The Lawnmower,” 150 from Soviet Cities,” 119; “Scenic,” surveillance, 15, 91–3, 104–6, 125–8, 15, 133; “Shillington,” 122–3; 129–54, 180 “Sleepless in Scarsdale,” 37–8; see also flânerie; panopticon; “Suburban Madrigal,” 132, picture windows 134–7, 138, 147, 152; “Superman,” 40, 165; Telephone Poles, 122, taste, 9, 17, 18, 51–69, 186 134, 185; “Thin Air,” 15; “Wash,” elite, 9, 50, 52, 54, 180, 187 116, 185 popular, 9 urbanity, 58–60, 115, 143, 149 see also culture urbanization, 12, 163–4 Technicolor, 191 see also cities; suburban development technology, 26 televisions, 7, 41, 62, 139–40, 159, van der Rohe, Mies, 133, 147–8 177, 185 Van Duyn, Mona, 173 see also domestic appliances Veterans Administration (VA) threnody, 171 program, 30 Thurston, Michael, 4, 12, 93 Vickery, John, 121, 163–4 topography, 5, 18, 98, 108, 118, 122, Vidler, Anthony, 119 133, 141 Viereck, Peter, 10 Town & Country, 74 Vietnam War, 6 transport, 23, 34–8, 110, 174–5, 183 voice, 2, 9, 10, 13, 17–18, 49, 86, 105–6, automobiles, 23, 26, 36, 113–14, 161, 174–81 135–6, 142, 147, 156, 162, 170, double-voiced discourse, 90, 105 180, 184 Von Hallberg, Robert, 11, 12, 56, 61, public transport, 85, 188 173 railroads, 23, 26, 84–5 Von Rohde, Carl, 156 Index ● 225

Wagner, Linda, 187 World,” 185; “Marginalia,” 157–8; Waldie, D. J., 45, 118, 189 Things of This World, 168; “To Walker, Nancy, 94, 96, 187 An American Poet Just Dead,” walking, 140–4 167–71, 176; “Water Walker,” Wall Street Journal, 9, 62, 81, 151 156 –7 Warner, Sam Bass, 11 Williams, William Carlos, 67 washing machines, 7, 42–3, 185 Wilson, Elizabeth, 140 see also Bendix; domestic appliances Wilson, Rob, 137 waste, 40–1, 174–5, 178, 184 Wilson, Sloan Watten, Barrett, 5 The Man in the Gray Flannel Suit, weather, 185 53, 67, 132 weekends, 150 –1, 158 Windex, 38–41, 56 Westchester County, 26, 75, 87–8, windows, see picture windows 102, 123, 138 Wolff, Janet, 140 Wheeler, Wendy, 178–9 Woodbury, Margaret, 52, 54 White, Katharine, 75 Wordsworth, William, 91–2, 105 white flight, 47, 50, 89 World War II, 31, 41, 86, 91, 107, 117 see also race; segregation Wright, Frank Lloyd, 129–33 whiteness, 8, 30–1, 43, 155 Wright, Gwendolyn, 27 Whitman, Walt, 66, 86, 180 Wright, James, 8, 66 Whitneyville, 120–2 “A Girl in a Window,’ 141–4, 157 Whittemore, Reed, 68 Green Walls, 141 “Hester Prynne,” 137–8 “Miners,” 191 Whyte, William, 56, 153 Wylie, Philip, 39–41, 77, 96 The Organization Man, 52, 55, 67 Wiese, Andrew, 43 Yagoda, Ben, 62, 74 Wilbur, Richard, 8, 12, 14, 17, 66, 74, Yates, Richard, 78, 158 90, 173, 178 Eleven Kinds of Loneliness, 123 biography, 167–8, 186 Revolutionary Road, 53, 94, 132, influence, 168, 191 144 works: The Beautiful Changes, 156, Yeats, W. B., 58, 109 168; Ceremony, 167–8; “Love Calls Us to the Things of This zoning, 23